Saturday August 31, 12:00 pm
Petah Tikva Museum of Art
The talk will be held in Hebrew
The exhibition explores emotions through the gradual symbiosis between man and artificial intelligence (AI), while relating to the “emotional turn” it effectuates. Digital technology has developed rapidly since the early 1990s, leading to far-reaching changes. These changes—such as a new perception of “self” in the transition from physical encounter to the virtual realms of the social networks, and a different perception of space due to the use of GPS technologies—have given rise to a discourse centered on the digital world’s impact on man and society.
AI is a new, evolving technology, with independent learning capabilities, which were thus far reserved only to human intelligence. As the connecting chain between man and the computer, it introduces changes in the emotional sphere, discussed in new sociological and psychological studies. The works on view address this emotional turn, and were created especially for the exhibition. Some relate to the emotional turnabout that occurred in the transition from a solid objective ethos to the relativist vagueness characterizing a multiplicity of subjective truths. They are based on a deep learning (AI) code, showing how technology dictates a new emotional regime. Among other things, these works delve into “filter bubbles” used by the global Internet giants to limit users’ scope of data, and consequently emotions; methods of art cataloging which undermine the linear temporal sequence; and voice translation applications which blur cultural characteristics while simultaneously creating a new culture.
Another cluster of works explores emotions in social and political contexts, introducing “emotional capitalism”—a situation in which economic relationships become emotional, while close, intimate relations are increasingly defined by economic and political models. These works refer to such themes as employment in the age of AI (employees doomed to be replaced by AI in the near future); artificial intelligence and warfare; control; and the fear of missing out (FOMO) as an artificial-biological pattern.
The participating artists all stand out in this field of art and innovation, and their works accentuate philosophical aspects made possible by digital practice. Some artists collaborated with programmers; others have specialized in computer science and have participated in numerous exhibitions. They use applications as an experimental medium to examine emotion in a period when AI often seems larger than man. In their artistic way, they propose a possible, not very distant future, which pushes one to both technophobic and technophoric emotions, making for a critical discussion of the coming future.
ARKEN Museum of Modern Art, Ishøj
August 31, 2019 – February 2, 2020
Over the past decade, Simon Fujiwara has become known for his staging of large, complex exhibitions that explore the deeply rooted mechanisms of identity construction for both individuals and societies. From August 31 his thought-provoking work Joanne is on view for the first time in Denmark at ARKEN Museum of Modern Art.
Presented as film and image environment, Joanne depicts the many faces of Joanne Salley, Simon Fujiwara’s former secondary school teacher. Winner of the 1998 Miss Northern Ireland beauty pageant, artist, teacher and champion boxer, Joanne Salley had a formative influence on Fujiwara as a scholarship student at the prestigious Harrow School for boys in Britain. Several years later, she became the victim of a tabloid newspaper scandal after students discovered and circulated topless photographs of her that had been taken privately. The ongoing media campaign that followed destroyed her career and public image.
In 2016, Fujiwara and Salley embarked on the production of a short film that aimed, through the use of advertising and marketing techniques, to restore her image.
Omer Fast presents three films that portray human interaction with the supernatural. The newest film, Der oylem iz a goylem, begins with a lone skier’s uncanny encounter in the Austrian Alps. Shot in 2019 in Salzburg, this film will premiere at the Salzburger Kunstverein. The second film, The Invisible Hand, depicts a family’s confrontation with a ghost in the Pearl River Delta, China. The third film, August, is loosely based on German photographer August Sander’s last years. The exhibition will be presented in a specially-built medical environment.
The Show will be on display from July 26 to October 6 2019 at Salzburger Kunstverein
The Event IN SITU Patrimonie et Art Contemporain offers during the Summer to discover works of Contemporary Art realized in situ and establishes a dialogue between historical heritage and modern art, ancient historical patrimony and Contemporary Art.
in particular the Summer Exhibition’s program of this year features the work of the contemporary romanian artist Mircea Cantor from 21 June until 31 August 2019 at the Forteresse De Salses, Salses-le-Château in France.
The Group Exhibition “Jews, Money, Myth” is a major exhibition exploring the role of money in Jewish life. Discover the ideas, myths and stereotypes that link Jews and money over the course of 2000 years. The Group Show is on display until 17 October 2019 at The Jewish Museum in London. The work of Ryan Gander is included.
To create new green public space at the heart of CBC for all users: employees, patients and visitors. Located to the west of Addenbrooke’s Hospital between the new Royal Papworth Hospital and Astrazeneca, The Green & The Gardens is a set of spaces for relaxation and calm, and to inspire thriving new relationships and ideas between current and future CBC organisations. To achieve this, and in line with the campus’ ethos of exemplar collaboration, international concept artist, Ryan Gander, and leading landscape designer, Gillespies, were commissioned right at the start of the process to create this vision, and then develop the landscape design and all its features (routeways, planting, street furniture, lighting and sculpture) as one holistic public art and landscape commission.
The Solo Show “I see you’re making progress” by Ryan Gander at Lisson Gallery in Shanghai, will be on view until 31 August 2019. The exhibition’s title ‘I see you’re making progress’ reflects Gander’s constantly evolving practice and career trajectory, while the works also display this evolutionary process – from the confines of the artist’s mind and studio, towards the boundless possibilities to learn and develop from the outside world.
Organised in partnership with the museum director Jochen Volz — Pinacoteca de São Paulo, Brazil — the 2019 Verbier Art Summit took place on 1–2 February 2019 in Verbier, Switzerland around the theme: We are many. Art, the political and multiple truths.
In times of increasing uncertainty, we are in need of a deeper understanding of the multiplicity of narratives around us. Art has the potential to give voice to forgotten and silenced narratives, but also to envision entirely new possibilities. By bringing together artists, museum directors, activists and academics, the Verbier Art Summit engaged the art world in critical reflection on their social and political responsibilities. Together, we explored the political power of art.
The 2019 Summit Edition speakers included artists Tania Bruguera, Latifa Echakhch, Rirkrit Tiravanija and others.